Rasool Mohamed Rasool (Iraq)
Within four year, the Emirati novelist Mariam Al Ghafli issued three narrative works are: (Toee Bakhita) (2009), (The daughter of Rain) (2009) and (The Appeal of places ... Khazina) (2013), during that period she succeeded to draw a narrative imagined image of the Emirati woman, whether "Bakhita" in the first novel or " Latifa" in the second or the novel "Sarah" in the third novel.
If the model of women in the first novel associated with the inherited Emirati heritage in the narrated tale "Bakhita", the model of women in the ( The Daughter of Rain) and in the (The Appeal of places .. Khazina) issued by the (Dar Al Hewar ) in Damascus 2013, is linked to the story telling about the Contemporary Emirati woman, as everything in her character is reflecting her female, self, social, cultural and existential identity, concurrent with the staked cases mentioned in the two Novels according the terms of the UAE society affected by the construction, educational, cultural and modern services, and urban modernization, as the role of women gave her an active participation in the production of the life styles, and facing the challenges similar to other societies and nations.
"Sarah the daughter of saif”as described "with the a legendary beauty" (p. 27), seems to be the central feminine figure in (The Appeal of Places - Khazina), but, like "Bakhita" and " Latifa", being the center of events in the previous two versions , Mariam Al Ghafli "Sarah created a number of women participating in the story in the novel, such as: " Khazina; the grandmother of Ghanem, Ghabaisha, Om Omar , Om Talal , Amal, Olaya, Om Murad, Amina , Hinde, Kholood, and Shirin". The story of "Sarah " who missed her husband," Ghanem "for more than two years to join a fanatic group that destroyed his life, his wife and his family," Hamdan, and Khazina.
Two years later, "Ghanem" decides to return to his wife, but, when was heading home, he saw a man coming out of his house while Sarah was hidden behind the door to see him off (p. 10), "Ghanem" preferred to leave again doubting that his wife is betraying him. He left for nowhere carrying the double deception and pain.
In the third novel, Maiam Al Ghafli adheres to the narrator (but in some places she goes to "Sarah" to write her memoirs (p. 71), Some blame her for absence of her husband under the influence of acute sense of painful loneliness. For this, we find in this novel more building art images about places; places taken by Mariam Al Ghafli through the memory of "Ghanem" roaming between the cities of Al Ain and Maishiq and other places, as well as "Sarah" that roaming in every corner of her home to remember her absent husband.
Not only that, but we find captivating narration in her experience as she discovered the smell of places and people, feelings, emotions and passions and shocks that inflicted the actors in the story as says Philippe Hamon: "The freedom of the infinite movement characters highlights the proliferation of descriptions, can be pivotal to the fictional characters:( p. 124).
The building of "Sarah" image called the existence of a helping focal figures to participate in the event generation. There is the abuser (Aggressor) or voyeur on "Sarah," He is "Talal strongly attached to her”, will turn to be a fanatic person at the end of the novel. there is a peaceful person he is “Darwish " who is taking care of his garden and not concerned by any one . There are the chattering and the curious" person, she is Amena , and there are puritanical person " she is Om Omar. Other assisting dignitaries, such as" Mereille " the house maid who will become a Muslim and called" Fatima ". The figures seemed necessary in building becoming spoken narration.
If you go deep the events of the novel, you do not find the husband, "Ghanem" expressing the innermost of his personality, especially in light of his discreetly wife "Sarah," about the reason for his absence. Therefore Mariam Al Ghafli disclosure of the secret of his absence to "Sarah" herself to fill the gap created by the absence of "Ghanem", when Sarah has taken out, "" the photo of her absent husband, and began to write the book of her memoirs directed her blame to him and compared her pure character, with his personality (p. 75) drifted towards the "fruits of the devil”. (p. 76) that came from bad friends books given to him; those foreigner friends, she describes them as "The League of Evil "(p. 77), but up" the chronic epidemic "that" changed our lives to hell raging is still nestling in the pillars of our quite home "(p. 79).
This narrative vocabularies reveals affiliation of "Ghanem" to extremist religious groups that got up to the front of the Arab scene the end of 2003. The night before his departure, "Sarah” stood in defiance to her husband because of his cheap affiliation to those miserable groups, but he accused her of interfering in the course of his life to disappear from her life without any respect to her opinion, "I did not know you do not accept the opinions of others" (p. 82).
This female disclosure of the secret of her husband escape and her courage and frankness are assistant factors to build a personality of “Sarah" is not forbearing and powerful only, but women with a rational vision in her assessment of extremist religious practice: "Any life lived by those, you and people like you? What have you done to your families, your beloved ones, and your bereaved mothers? Argument and religion became a puppet in the hands of those who do not fear God; become a mask for fraud and deception "(p. 79).
She writes: Because of your unbalanced speech, I knew that you are following them, catching peels and leaving pulp untouched, living in fancy going the way of no return. (p. 76).
Sarah comes again to say in a meeting with her friend Leila: "How do you enjoy the killing of innocent people, secure in their homes whether they are Arabs or Muslims or foreigners? So we have to admit that the crazy thoughts promoting terrorism and indiscriminate killings and violence against humans regardless of their religion and sects, this is the cause of the problems; we must solve our problems before blaming others! "(P. 193).
Some narrated vocabularies reveal what "Sarah" written in her memoirs for the rational balanced side in her view of life; she says about her character talking to her absent husband: "while I tried to stay on the pure and clean, I was not changed, have not imitated your disruption, did not follow you in the muddy thorny way you have chosen "(p. 75).
She also said: "As for me, I remained as I am, I could not cancel my mind, drifting behind people who do not understand something, carrying false ideas, tucked, and running behind their illusions and sick minds" (p. 76). About her rational vision she said: "I'm still concluding my stands from my thoughts and my conviction, I knew from the beginning what is right and what is wrong, Muslim knows it and by the grace of God I was able to distinguish between them" (p. 75).
This rational approach in the personality of "Sarah," which condemns violence in the name of God was clearly evident in feminist dialogue that took place between her and her neighbor, Om Omar: "O Om Omar , everyone suffered and what they are doing not only killing the soul which Allah has forbidden to kill . It is an affliction to Islam and Muslims "(p. 40). She added as well: "My dear Om Omar, Jihad, as was stated by the religious scholars is only ordered by the head of the nation with respect to Jihad for the sake of God and not to qualify others infidels, we know it is not permissible to consider anyone infidel because it is the right of Allah and His Messenger . And there is no justification to do against and disobey the Rulers. "(p. 43, as well as p. 124).
The personality of "Sarah" does not look void, but full of feminine self-adjusting the positions and paths of her life, even remained under the jurisdiction of her husband, who opted not drowning in an anonymous male empty of personal and family. In this context, the rational side of her personality is not limited to these positions, but also the long way of dealing with the absence of her husband's crisis even seemed secretive for his absence as a method of balanced processing based on the wisdom of female, and non-disclosure of belonging to an extremist religious group in the light of what is prompted by the command I hope that one day he comes back to his mind, which he did when he decided to return to his family. But his doubts denied him to achieve that, and he went back wandering to his no place.
If the contemplation of "Sarah" to the photo of her husband "Ghanem" he has opened for her the prospect of writing, means that photo a memory message as the husband watched out someone getting out of his house giving a farewell to his wife, that gave a new horizon to keep distance from his wife and his children, which means that photo was in turn sending also a message about the distanced husband and gone looking for an objective equivalent, so he went to ( Maishiq city ) recalls his grandmother " Khazina" in the Fourth Chapter , and then he remembers her and his mother, late in the Sixth Chapter , a shift that reminds us of the character of "Matar bin Hareb" in the novel Ali Abu Rish (room 357) when was wandering in the desert looking for the grave of his mother.
In the eighth Chapter his ex - wife "Hasna", before his marriage to ex-wife "Sarah", but he brought her back "to vex his wife Sarah, and punish her for what she has done to him” (p. 135). In this same Chapter, the estranged husband makes comparisons between his grandmother Khazina and his two wives, and recalls, according to the narrator, his betrayal by his wife Sarah when monitored on a relationship with someone she meets him secretly !! (P. 140) without being aware of the identity of this person. In the Chapter ten, memories take him back to recall his friend "Marwan” who took "Ghanem” to the path of extremist religious groups (p. 171 et seq.), and you know "Abu Islam" who recruited him in the group to begin his journey in deviation from the correct path of religion.
If Chapters V and VII have enshrined the writer life images of "Sarah" with her children, and her friends, the Chapter IX has witnessed a meeting between the "Sarah" and "Hasna" without revealing anything but the desire of Hasna to return to her homeland away from "Ghanem,” when she discovered that he married her to vex his ex-wife " Sarah ".
While Chapter Eleven follows Sarah everyday life with her friends, "Shirin", and " Kholood", and "Layla" as well as the twelfth, thirteenth Chapters, and the modern feminist conversation about jihad, terrorism and sectarian killings transmitted at the television, and the chapters fourteenth and fifteenth, while Salem back in Chapter XVI to his home surreptitiously after awakening of his conscience while Sarah was "pleasantly" asleep, but her cell phone started ringing. The call was from that "unknown person" So "Ghanem" decides to eliminate them, but discovers the diary and started reading what his wife wrote in his absence.
However the Chapter XIX unfolds the absent truth shows the parents of Sarah, and shows "Rashid", the car owner, who was meeting "Sarah" repeatedly and no one knows, and shows that he is the brother of Sarah from her father, which means that "Sarah" was not betray her husband, "Ghanem "whose his soul was dusted by doubts and suspicions, who got lost in the darkness of religious extremism, an ugly period of his life until he awakened from its slumber to the shining reality in front of him.
If the character is "building the text will construct it," says Philippe Hamon (Semiology of fictional characters: p. 61), but Mariam Al Ghafli has succeeded in building the personality of "Sarah" with a rational nature as a model Emirati women facing the difficulties of life, high-end female wisely without any landslides or radical defeats enshrined by male uncertainties, that impair the same entity and the female at some stages of her life.If the "self-standing position places the female through bilateral visual reality and utopia dreamy to me," as says the Canadian writer Nicole Brossard (Body talks in the Picture theory, p. 120), Mariam Al Ghafli spotted shifts in the contemporary scene with all the negative payloads reflected on the self-mutilation "Sarah, "which mobilized, in turn, all join forces in addressing the reckless reality around her , especially if the man " Ghanem "involved as a partner in the consecration of foolish male ignorance, through what is enshrined in this wife forbearing from the positions of moderate and visions for a number of confounding issues that guide the contemporary Arab woman.